This the full table of contents from Cinema Scope Magazine #66. We post selected articles from each issue on the site which you can read for free using the links below. This is only possible with support from our subscribers, so please consider a subscription to the magazine, or  the instant digital download version. 


Interviews

Era Extraña: Lewis Klahr on Sixty Six  by Jordan Cronk

The Only Luxury: An Interview with Ted Fendt by Dan Sullivan

Features

If This Were a Personality School, We’d All Have Trouble Getting Out of Kindergarten : Jerry Lewis’ 90th Birthday by Christopher Small

Field Studies: Mark Lewis’ Invention by Michael Sicinski

Star Wars: Laura Poitras’ Astro Noise by Jerry White

True Colours: On Margaret Honda’s Style by Phil Coldiron

Imagining Disaster: The Videos of Calum Walter by Samuel La France

Uniquely American Symptoms: The Manchurian Candidate by Adam Nayman

*Last Action Hero: Jason Statham Plays It Straight by Christoph Huber

“Elaine-less”: Elaine May’s American Masters: Mike Nichols by Sean Rogers

Wang Bing Films Souls: On Ta’ang and Other Recent Work by Shelly Kraicer

 Columns

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Editor’s Note

Deaths of Cinema – Metteur en scène: Jacques Rivette, 1928–2016 by Matías Piñeiro

Film/Art- A Film/Art Hypothesis: Philippe Parreno at HangarBiccoca by Andréa Picard

Global Discoveries on DVD by Jonathan Rosenbaum

Exploded View: Tom Palazzolo’s Love It / Leave It by Chuck Stephens

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Spotlight: Festivals

Berlin by Celluloid Liberation Front

Sundance by Blake Williams

Sundance/Rotterdam – Operation Avalanche By Alicia Fletcher

Rotterdam – A Cinema of the Margins: The Curious Case of Claudio Caligari  by Ruben Demasure

Currency

Hail, Caesar! By Max Nelson

Embrace of the Serpent By Angelo Muredda

The Witch By Jason Anderson

Il Solengo By Jay Kuehner

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From the Magazine

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  • I See a Darkness: Pedro Costa on Vitalina Varela

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  • For a Cinema of Bombardment

    Although there have always been intrepid critics and cinephiles who have engaged with films belonging to the non-narrative avant-garde, there has existed a perception that such films, operating as they do on somewhat different aesthetic precepts, could be considered a separate cinematic realm, one that even the most dutiful critic could engage with or not, as he or she saw fit. More →